Rula Jones
Enter the 3D Exhibition
Preface: Transcendentalism was a philosophical and literary movement that emerged in the early 19th century in the United States, particularly in New England. It's often associated with a group of writers and thinkers including Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Louisa May Alcott and others. The movement was, in many ways, a reaction to the intellectual climate of the time, which was heavily influenced by strict religious doctrine and a rationalist approach to knowledge and understanding. This movement in the United States was influenced by an eclectic range of spiritual perspectives and intellectual thought. German Idealism and Romanticism were particularly influential. They, similarly, were reactions against the strict empiricism and rationalism that dominated European thought in the 18th century. Additionally, the movement was also notable for its interest in and incorporation of ideas from Eastern philosophies and Native American beliefs.
Buddhism in particular, shares several key similarities with Transcendentalism. Both emphasize the importance of personal intuition and insight as a path to understanding inner experience over external authority. Both traditions also stress the interconnectedness of all life, advocating a sense of unity with the natural world and compassion towards all beings. Additionally, the idea of transcending the material world to reach a higher state of consciousness or enlightenment is central to both, whether it's through meditation in Buddhism or communion with nature in Transcendentalism. Lastly, both reject the strict adherence to established doctrines or rituals, instead promoting a more individualistic approach to spirituality. The connection between Native American traditions and Transcendentalism lies primarily in their shared reverence for nature and the belief in the interconnectedness of all life. Native American spiritual practices often emphasize a deep, spiritual connection with the natural world, seeing it as a source of wisdom and guidance.
This resonates with the Transcendentalist view that nature is a pathway to spiritual and moral understanding. Both traditions value the idea of living in harmony with the environment and see the natural world as not just a physical space but a living, spiritual entity. In contrast, Transcendentalism holds a nuanced relationship with Christianity. Although it originated within the Christian context of Unitarianism, it diverges from orthodox Christian beliefs by emphasizing personal intuition and inherent goodness, in contrast to the Christian focus on original sin and divine grace. Transcendentalists like Emerson and Thoreau viewed Jesus as a moral guide rather than a divine savior, seeking to transcend traditional Christian doctrines while not entirely rejecting them. Thus, Transcendentalism represents both a critique and an adaptation of Christian ideas. Curiously, Paganism and Transcendentalism share notable similarities, particularly in their reverence for nature and the spiritual significance they attribute to the natural world. Both value
personal experience and intuition in spiritual matters, favoring an individualistic approach to understanding the divine. While Transcendentalism often draws from Eastern philosophies and Western intellectual thought, Paganism encompasses a wide range of polytheistic, nature-centric beliefs, their shared respect for nature and individual spiritual experience creates a common ground. Transcendentalists placed a strong emphasis on the individual's intuition and conscience, believing these to be superior to established institutions of the day. They believed that every individual possesses an inner light or spirit that can provide guidance and wisdom, surpassing the knowledge obtained from the senses or logical reasoning. Additionally, many Transcendentalists were actively involved in social reform movements, including the abolition of slavery, women's rights, and educational reform. Their belief in the inherent goodness and potential of each individual fueled these efforts.
Transcendentalists criticized the materialism and consumerism of American culture, advocating for a simpler, more contemplative way of life that was in harmony with nature and the deeper aspects of the self. Transcendentalism extended beyond just being an intellectual framework; it proposed a holistic approach to life. It's conceivable that the essence of Transcendentalism subtly influenced various historical art movements. Take, for instance, the Land Art movement of the 1960s and 70s. This movement was defined by its aversion to the commercial aspects of art production and a passionate commitment to ecocentric art practices. While not explicitly articulated, the works from this era reveal a profound, earth-centric spirituality. This movement also championed the concept of individualism, evident in its critique of the mainstream art market and its institutions.
Similarly, Surrealism, emerging earlier in the 20th century, appears to have been shaped by Transcendental principles. This movement eschewed rigid rationalism, delving deeper into the realms of human experience, especially the subconscious and dream states. Surrealist artists sought wonder and extraordinary beauty in the bizarre and unconventional, often exploring overlooked or unconventional aspects of life. This pursuit aligns with Transcendentalist ideals, which emphasized intuition and the mystical over the strictly rational. Transcendentalism, with its emphasis on individual intuition, the sanctity of nature, and the pursuit of deeper spiritual and philosophical truths, continues to exert a significant influence on contemporary ideas in life and art. Its legacy can be seen in various aspects of modern culture and thought.
Environmentalism and Ecological Awareness is one of the most direct influences of Transcendentalism seen in the environmental movement. Contemporary movements that emphasize sustainability, conservation, and a holistic view of the planet's ecosystems reflect the Transcendentalist ethos. The Transcendentalist emphasis on self-reliance and personal intuition resonates strongly in today's culture, where individualism and personal development are highly valued. This philosophy can be seen in the focus on self-help, mindfulness, and personal spirituality, where the journey to find one’s own path and truth is highly regarded. Transcendentalism was closely linked to social reform movements in its time, particularly abolitionism and women’s rights. Today, its spirit can be seen in various social justice movements that emphasize individual dignity, freedom, and the moral responsibility to challenge societal norms. The Transcendentalist openness to different religious traditions and the search for universal truths have influenced modern spiritual practices and the interfaith movement.
The artists presented in Ad Astra share a common thread in their work, deeply rooted in Transcendentalist ideals. Each artist, through their distinct personal style and visual lexicon, articulates their personal transcendent experiences. Gallery 44 is delighted to showcase a selection of artists hailing from various parts of the United States: Trudy Borenstein-Sugiura, Genie Ghim, Steve Jensen, P D Klein, Maxime Laurent, Chaz Martinsen, Betsy Packard, Bean Ser, Kirsten Rae Simonsen, Gabriel Soto, Priya Vadhyar, Amanda VanValkenburg, Steve Wanna and ZECO.
“Since childhood, I have had a fascination with the Universe, and watching the stars, planets and meteors has inspired a lifelong sense of wonder,” writes Trudy Borenstein-Sugiura. The artist's fascination with the universe and the celestial bodies reflects a Transcendentalist-like awe and reverence for nature's grandeur and mystery. Just as Transcendentalists saw nature as a source of inspiration and insight, the artist uses images of stars and planets in her collages to explore profound themes such as time, perspective, dreams, and the unknowable. This mirrors the Transcendentalist pursuit of understanding deeper truths about existence and the human spirit through the contemplation of nature's beauty and complexity. She presents two works in Ad Astra titled, “Origin Story” and “Dreamwork.”
Trudy Borenstein-Sugiura Origin Story Cut Paper Collage 17” x 14” 2023 BUY
Trudy Borenstein-Sugiura Dreamwork Cut Paper Collage 6" x 6" 2021 BUY
The series “Interscopic Satellites” represents a voyage through a universe of vivid forms and hues, manifested on pure, circular bases, states artist Genie Ghim. These circular artworks act as gateways, leading the observer beyond conventional limits. Every arc and crossroad on these round surfaces narrates a tale in abstract language, beckoning viewers to interpret its cosmic splendor. At its core, the collection delves into the concept of art that transcends the ordinary, portraying cosmic elements akin to interscopic satellites. The artist's work evokes a celestial vision, reminiscent of the graceful ballet of satellites against the vast sky. It encourages a contemplation of the intricate interplay of light, space, and structure, stirring a sense of interconnectedness. The abstract formations serve as symbols for the invisible ties that link us to the cosmos, urging us to embark on an exploration of boundless potential within the captivating domain of transcendental art.
Genie Ghim Interscopic Satellite 1 Paint on Wood 24” x 24” x .5” 2023 BUY
Genie Ghim Interscopic Satellite 2 Paint on Wood 24” x 24” x .5” 2023 BUY
Steve Jensen's painting of a floating canoe, adrift in an expansive, possibly infinite space, symbolizes the journey of the self towards spiritual and self-awareness, a key Transcendentalist pursuit. This solitary vessel is unbound by terrestrial constraints and resonates with the concept of transcending the material world to reach a higher state of understanding and consciousness. This artwork can be seen as a visual metaphor for the Transcendentalist journey — one of self-discovery, unity with nature, and the exploration of the deeper, spiritual dimensions of existence.
Steve Jensen Levitating Canoe oil on wood 12" x 30" x 2" 2022 BUY
P. D. Klein presents two works etched in wood and with a hint of watercolor: One featuring a laser-etched Windsor chair; the other, resembling resembling a concave parabola. Klein's artistic approach is rooted in a deep engagement with nature and its myriad phenomena. She writes: “These two works emerged from intimate experiences in nature and embodied explorations through making. They can be viewed as traces of internalized connections with nature’s complexity and mystery.” These pieces are both enigmatic and evocative, hinting at a personal journey intertwined with the natural world and spiritual exploration. They resonate with the ethos of transcendentalism, reflecting a profound connection with the natural environment and a yearning to transcend separateness.
P D Klein, Untitled (blue hour), etched wood panel & watercolor, 5" x 5" x .75" 2023 BUY
P D Klein Untitled (crickets call) etched wood panel and watercolor 5" x 5" x .75" 2023 BUY
"La Chamane de la Nuit" (Shamaness of the night), “is a play on an abstract representation of night lights, in a night sky, while representing a spiritual figure, of a mixture of early tribes. Combining a futuristic and new wave look, to a Neolithic theme,” writes artist Maxime Laurent. A striking painting, it presents a vivid portrayal of a female shaman from an unspecified indigenous culture. This piece is notable for its unique technique, where the shaman's figure emerges through a constellation of bright, pointillist-like dots of color set against a night sky. This method creates a dynamic, almost ethereal appearance, as if the shaman is simultaneously part of and distinct from the surrounding night. The choice of subject — a shaman, a figure often associated with deep spiritual knowledge and connection to the natural world — is significant. In many indigenous cultures, shamans are seen as mediators between the physical and spiritual realms, possessing profound insights into the mysteries of nature and the universe. This aspect of the painting resonates strongly with the principles of transcendentalism.
Maxime Laurent La Chamane de la Nuit Acrylic on canvas 30"x 40" x2" 2018 BUY
Chaz Martinsen writes, “This body of work was created in response to my cancer diagnosis and treatment. While I had to be sequestered and cut off from the norm of reality and society, my mind continued to wander, explore and desire far away lands. I dream of a time that humanity will overcome the perceived differences and elevate one another to explore our local planetary system, and beyond, including these topographies that are created from images of Mars, provided by NASA.” His poignant quote reflects a deep and introspective journey prompted by his personal battle with cancer. In facing this challenging time, during periods of isolation and disconnection from everyday society, Martinsen turned inward, transcending his immediate environment allowing his mind to roam freely beyond the confines of his immediate reality. His artistic expression became a conduit for exploring not just his inner world, but also the vast, uncharted realms of space, specifically drawing inspiration from images of Mars. Interestingly, Mars shares its name with the Roman god of war, so it's all about survival and animal instinct which perhaps inspired the artist in his battle with cancer.
Chaz Martinsen Barchan Dune Cast Ceramics, Glaze and Paint 42"x 36"x 6" 2023 BUY
Wandering Dune Chaz Martinsen Barchan Dune Cast Ceramics, Glaze and Paint, 42"x 36"x 6" 2023 BUY
Artist Betsy Packard presents two art pieces, ".0845" and ".1319", notable for their detailed stitching that creates a peaceful ambiance. The first artwork, ".0845," features patterns that appear to spontaneously arise, symbolizing a deep connection with the subconscious and highlighting the power of intuition in art. This piece resonates with the idea that art can tap into and express our innate, intuitive wisdom. The second piece, ".1319," is unique in its composition, being crafted from recycled fabrics and garments donated by Packard's family and friends. This choice of materials adds a layer of depth and history to the artwork, as each piece of fabric carries the essence and memories of its previous life, imbuing the work with an "aura" of its former owners. This aspect of the artwork speaks to the concept of transformation and continuity, where old materials gain new life and meaning.
Packard describes her artistic process as a comprehensive and transformative journey. She emphasizes that the creation of art is not just about the physical act of making, but also involves a reflective and meditative aspect. This process, according to her, is aimed at fostering positive change and balance in both the artist and the audience. Her artistic philosophy aligns with transcendentalist ideals, which prioritize personal insight and experience. Packard's focus on the subconscious and intuitive elements of art creation echoes the transcendentalist belief in the importance of individual perception and inner wisdom in understanding and interacting with the world. She encapsulates this concept effectively stating, “the acts of both conceiving and making— as well as then meditating on the finished work— together strive to manifest positive transformation and equanimity in both artist and viewer.”
Betsy Packard .0845 Lining fabric quilted with gold thread, cotton backing, quilt batting, 75"x 44" 2018 BUY
Betsy Packard .1319 heirloom linens with applique and quilting on used silk 53”X 31" 2023 BUY
Bean Ser presents Essence, a limited edition of six relief prints. This artwork depicts a nude figure with both traditionally feminine and masculine features, set against the backdrop of the moon's phases. Through its unique portrayal and symbolism, it invites viewers to contemplate the fluidity and complexity of identity, particularly around themes of the feminine and the masculine. This theme is important to the artist being transgender themselves. For many transgender individuals, their journey of aligning their external, social identity with their internal sense of gender can be seen as a form of personal transcendence. This process often involves overcoming significant societal, psychological, and physical challenges. Transcending these barriers can be seen as a way of achieving a truer, more authentic sense of self, which is a key aspect of many definitions of transcendence. The transgender experience can be seen as transcending the physical or material aspects of gender, pointing towards a deeper, more holistic understanding of identity that surpasses conventional physical or societal definitions. The concept of fluidity aligns well with the imagery of the moon, which is ever-changing, always in a cycle of waxing and waning. All in all, this work asserts our connection to the cosmos and the ever-evolving nature of our understanding of ourselves and the universe.
Bean Ser Essence Edition of 6 Relief Print: 20" x 18" 2023 BUY
Kirsten Rae Simonsen's art predominantly explores themes of transcendence and transformation. She skillfully employs fluorescent pastels, often infused with metallic elements, crafting an atmosphere that is simultaneously otherworldly and familiar. This unique blend invokes feelings akin to those experienced in a fairy tale, where elements of allure and repulsion coexist. Simonsen's artistic journey navigates through the realms of beauty and chaos, with a firm belief that such a journey can lead to hope and transcendence. Her work reflects a deep exploration of the dichotomies of existence and the potential for finding meaning and elevation amidst them. Her piece, “Not Yet the End of Everything,” depicts a reindeer amidst structures engulfed in flames, rendered in a surrealistic style, evoking a complex tapestry of symbolism and emotion. Traditionally, reindeer are symbols of journey, endurance, and strength, often revered in various cultures for their resilience and ability to thrive in harsh climates. In this surreal context, the reindeer might represent stability and endurance in the face of adversity. Its presence amidst the chaos of fire could symbolize the resilience of nature or the human spirit against destructive forces.
Kirsten Rae Simonsen Not Yet the End of Everything watercolor, gouache, glitter, and graphite on paper, 14.5” x 18.5” 2021 BUY
“My work adapts symbolism from various religious, mythological, and esoteric traditions into new imagery that expresses the spiritual and existential anxieties of our current age. Inspired by gnosticism, platonism, and pre-christian theologies, my paintings are my own approach to ancient spiritualism as a modern human living in a post-industrial world,” writes artist Gabriel Soto. "Ahimsa for Times of Corona" artistically captures the essence of non-violence in the midst of a global crisis. The image features a hand, encased in a protective latex glove, effortlessly stopping the advance of three knives. This striking visual metaphor contrasts the aggression symbolized by the knives with the compassionate intervention of the gloved hand. The presence of twinkling lights adds a mystical aura, hinting at a higher, perhaps spiritual, force at work. This artwork powerfully conveys the concept of ahimsa, a principle deeply rooted in various Dharmic traditions of India and Southeast Asia, emphasizing non-violence and empathy. In the context of the COVID-19 pandemic, the piece resonates profoundly, advocating for a harmonious balance between defending against danger and maintaining a stance of non-aggression and understanding amidst global turmoil.
In "Phosphene Pietá," the artist reinterprets traditional pieta imagery, where the Virgin Mary mourns Christ, reflecting the concept of "pity." This painting responds to global crises, conveying universal emotions of angst, anxiety, fear, and grief. Rather than depicting full faces, the artist focuses on eyes to express the profound experience of witnessing an old world's end and a new one's emergence, as described by Soto. This painting features a canvas bathed in lemon yellow, framed by a deep black vignette. At the heart of this piece are a pair of eyes, rendered with striking realism, looking upwards, accompanied by tears. Twinkling points of light are subtly integrated, suggesting an element of otherworldliness. This juxtaposition of realistic imagery with hints of the fantastical lends the painting a profound depth.
Gabriel Soto Ahimsa for Times of Corona Oil on Canvas 24" x 18" 2023 BUY
Gabriel Soto Phosphene Pietá Oil on Canvas 40" x 30" 2023 BUY
Artist Priya Vadhyar writes, “I am a process painter exploring the boundaries of the self through abstraction. Through process painting, I try to understand the continuum between the I and all that lies outside that I. It is one thing to speak of this theoretically and quite another to experience it; to know deeply, even when that knowledge and its source are not easy to define. I have found that this knowledge comes, via recognition, when a quiet descends on the ego. In this state, all the nameable parts of the self slip away. One is more an orb of energy or, as Virginia Woolf calls it, a ‘wedge of darkness.’ In this state, one is unconfined, and one sees in form the echoes of one’s life force — the absolute foundation of everything.” Priya Vadhyar's quote about her approach to process painting and exploration of self through abstraction is deeply resonant with the principles of transcendentalism. Her distinction between theoretical understanding and experiential knowledge mirrors the transcendentalist value of intuition and emotion over empirical evidence and logic.Vadhyar's description of being an "orb of energy" or a "wedge of darkness" suggests a state of existence beyond physical or conventional boundaries, which is a key transcendentalist idea. This unconfined state reflects the transcendentalist belief in the inherent connection between the self and the universe, and the idea that understanding this connection is key to personal and spiritual development.
Priya Vadhyar Passage 01 Acrylic on canvas 48 x 36 x 2 2022 BUY
Priya Vadhyar Multiverse Acrylic on canvas 48 x 36 x 2 2019 BUY
The artist Amanda VanValkenburg series "Dust"consists of a 3D animation and two print stills. It is a meditation on creation and destruction, and its visual journey from a tangible mountain landscape into particles and light, resonates deeply with transcendentalist ideas. The transformation of a solid, recognizable mountain touching the sky into abstract particles reflects the transcendentalist belief in the fluidity and interconnectedness of all forms of existence. It echoes the idea that the material world is a manifestation of a deeper, spiritual reality. The process of deconstructing a physical landscape into its essential elements - particles and light, which are fundamental components of the universe - symbolizes the transcendentalist pursuit of understanding the essence of nature and existence. Furthermore, the use of digital media to capture and transform these images, and then present them as archival prints, adds a layer of transcendental reflection on the relationship between technology, art, and our perception of reality. This artistic expression, therefore, encapsulates the transcendentalist themes of unity with nature, the transcendence of physical forms, and the quest for a deeper, more essential understanding of the universe.
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Amanda VanValkenburg Dust 3D Animation 2023 NFS
Amanda VanValkenburg Dust 1 archival print - open Edition 16" X 19" 2023 BUY
Amanda VanValkenburg Dust 2 archival print - open edition 16" X 19" 2023 BUY
The "Myths of Creation" series by artist Steve Wanna, draws inspiration from the scientific discoveries resulting from images by the Hubble Telescope. This embodies transcendental ideals by mirroring the timeless and cataclysmic processes of the cosmos and by its deep reverence for nature. Steve Wanna writes, “My art celebrates the hidden, often ignored beauty I find in seemingly random and chaotic phenomena. Abstract, experimental, and multimedia, my work espouses worldview grounded in science, nature, and philosophy, often incorporating elements of controlled randomness, with uncertainty built into the process. I generally engage with two intersecting paths: our perception of the phenomenal world, and the artificial borders between form/process, artist/audience, science/mythology. Informed by the principle of emergence as defined in systems theory and Buddhism, I create frameworks that allow processes to unfold and give rise to unplanned forms, inviting new experiences born out of unique interactions between elements of the work and/or the work and the perceiver. I distinguish between chaos and disorder, and between containing and controlling chaos. Exemplifying this approach, the ‘Myths of Creation’ series is a celebration of the wondrous scientific discoveries resulting from images by the Hubble Telescope and their implications on human civilization and our deep desire for storytelling and mythmaking. Mythology in human culture serves to help us define our place in the cosmos; the exponential growth of recent cosmic discoveries offers ground for a new mythology for the modern world.”
Steve Wanna Myths of Creation - CE191117.1313 Mixed media on prepared board, cast in resin 2019 26.5 x 35.5 x 2.5 BUY
Steve Wanna Myths of Creation - CE221111.1247 Mixed media on prepared board, cast in resin 36 x 36 x 2.5 2022 BUY
The artist ZECO includes two original paintings in the exhibition Ad Astra titled, “Soho Sky” and “Big Sky. ” “Soho Sky" illustrates the distinctive 19th-century cast iron architectural traits of Soho, New York, merged with a fragment from Giovanni Lanfranco's Baroque work, "Council of the Gods." This artistic union not only highlights the vivid contrasts between the two styles but also prompts a deeper reflection on the cultural, intellectual, and spiritual interplay between the Industrial Revolution and the Baroque era. Lanfranco "Council of the Gods" epitomizes the Baroque style emphasis on grandeur and emotional intensity. The painting typically depicts a gathering of gods, a common motif in Baroque art, showcasing a celestial scene filled with divine figures.The image starkly contrasts to the modern, minimalist depiction of Soho's architecture giving rise to something distinctly contemporary, an entirely new perspective
and yet,—the amalgamation echoes the ideals celebrated by the transcendentalists of the early 19th century, specifically the ideal of forging a unique viewpoint by blending historical, intellectual and artistic perspectives. ZECO’s second work, Big Sky, uses a similar juxtaposition, contrasting a bleak industrialized landscape to various appropriated components from Baroque paintings. “Big Sky'' is an Americana term that is in reference to Montana, and was first coined by author A.B. Guthrie in his 1947 novel, The Big Sky. The painting presents a minimalist depiction of a classic American country road, stretching towards the horizon where a mountain silhouette looms. Alongside the road, power lines run parallel, and a green road sign is visible. In the sky above the mountains we see various figures from Baroque Painting including a depiction of Saint Rita of Cascia by Nicolas Poussin who was the leading painter of the classical French Baroque style. Again, the contrast is intriguing, asking the viewer to consider a religiosity to a bleak, minimal landscape.
ZECO Soho Sky Painting 44”x 25" 2022 NFS
ZECO Big Sky Painting 44”x 25" 2022 NFS